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iO _ 1 


















































TEACHER’S GUIDE 



By 

W. C. LOCKER, 

Author LOCKER EASY METHOD WRITING, 

Director of Writing 
Richmond Public Schools 




* 1 + 




All rights reserved. 








.Yjs^ 


WHEN YOU—? 


When you discover, this little book, 
Then hie you—to some quiet nook, 

To acquaint, with its conception! 

When you aspire, to Locker Writ, 

Will you not deign, in poise to sit, 
And master its construction 9 

When you enlist, to writing teach, 

0! to your mind, let this truth reach, 

’Tis easy—by direction! 


© Cl 6533028 


INTRODUCTION 


I N the preparation of this little volume, the author has endeavored 
to shape it, with an eye single to the needs of the teacher. 
Every teacher who instructs in handwriting will find that the 
undertaking, though commonly regarded as difficult, is reduced to a 
task of comparative simplicity with a definitely outlined plan of 
procedure for each and every successive step. Brief, explicit direc¬ 
tions afford vital assistance and encouragement, while extended, 
technical dissertations tend to confuse and discourage. 

This companion volume to the LOCKER EASY METHOD WRIT¬ 
ING books adheres throughout to the plan of direct simplicity em¬ 
ployed in these books, and is respectfully dedicated to the teachers 
who will, with the aid of this EASY METHOD, instruct pupils in 
the art of executing an approved style of handwriting. 

In this booklet, you will observe, 

The author's purpose is to serve; 

And this offering—of labor-joy, 

Is here dedicated, 

To make thee animated, 

And show the way—to good-employ. 


THE AUTHOR. 


CONTENTS 


PART I 

GENERAL DISCUSSION Page 

Explanation. & 

Confidentially (To Teachers) . 6 

The Five (Writing) Senses (verses). 7 

Writing Etiquette . 7 

When You Write (verses). 8 

Expression. 9 

Discipline. 10 

Co-Operative . H 

Class Instruction . 

Rules. 11 

The Rules (in verse) . 15 

Amplification of Rules . 10 

The Accompaniment . 20 

Criticism. 21 

Individual Instruction . 22 

Blackboard Writing . 23 

Left-Handedness. 23 

The Principal . 24 

The Supervisor . 25 

Supervision Analyzed. 26 

Motivation. 27 

The Normal School . 28 

Free Correspondence Course . 30 

Standards . 32 

Locker Writing Scale. 32 

Advantages . 33 

Aids and Awards . 36 


PART II 

COURSE OF STUDY . 37 

PART III 

SPECIFIC INSTRUCTIONS . 38 































PART I 


EXPLANATION 

Considered from the standpoint of universal application, the 
“writing structure” has been a victim of retarded development. 
There have been, it is true, numerous contributions to the subject, 
both from the practical and theoretical points of view. Expert writers 
have evolved systems, based largely on personal experience, while 
authorities in education have contributed their views to the sum 
total of knowledge on the subject (which, be it said, have not always 
been in agreement). The chief difficulty seems to have arisen from 
the fact that, in the treatment of the subject, the expert neglected 
his pedagogy and the pedagogue his practice. A happy combination 
is essential to any real contribution on the subject. In most lines of 
endeavor, mental or physical, we recognize as an authority the man 
who demonstrates his theory and theorizes his demonstration. We 
accept Wilson and Taft as authorities on statecraft, General Goethals 
on canal engineering, Colonel Bishop on aviation, and Sargeant York 
on shooting straight. The obvious demand in writing is that the 
theory and practice be related. The Locker books and this little 
volume are designed to supply the theory that is pertinent, together 
with the necessary practice, required for a well related development. 
In working out this adjustment, the author has combined the theory 
which is accepted as sound and the practice which has been demon¬ 
strated as practical. In the development of this plan, it has naturally 
led to a digression from the orthodoxy of previous offerings. The 
familiar terms ‘ ‘ Psychology, Physiology and Hygiene, ’ ’ as they apply 
to a theoretical discussion of writing, have been eliminated. The 
terms heretofore applied to specific practice, such as ‘ ‘ The Complexity 
of the Problem,” etc., have likewise been omitted. That these terms 
have not been employed does not argue that the principles in¬ 
volved have been overlooked or neglected. The principles implied in 
the heretofore orthodox phrases have, by a process of brewing, been 
reduced to a new terminology, suggestive of union and singleness of 
purpose. The several paragraphs presented here, under new headings 
(new in penmanship phraseology) might, for instance, be appropriately 
grouped under any one of the discarded headings. The problems 
suggested by “Psychology, Physiology and Hygiene,” as well as by 
“The Complexity of the Problem,” have been unified into a common 
purpose, with a single front. Instead of attempting “By indirection 
to find direction out,” the task has been surveyed as essentially one. 
With the task and its treatment thus reduced to terms of direct 
simplicity, there is no occasion that “Wayfaring men . . . shall err 
therein. ’ ’ 


6 


Study Psychology here, in every line, 

You’ll find gymnastics for the mind, 

And sense the good—in study. 

In Physiology, you should surely know, 

The body reaps, as the mind doth sow; 

Then discipline your thinking. 

You’ll find that the body-Hygiene, 

Profits in study of form unseen; 

Command then, thy thinking. 

It seems needless to add, that the subject, as presented, eon- 
templates, on the part of the learner, a singleness of purpose to 
acquire it in its wholeness. “As the body is one, and hath many 
members, ’ ’ so the author craves your indulgence in the acceptance 
of this subject as a whole. It would suffer and you will lose by its 
mutilation or abridgment. 

CONFIDENTIALLY (To Teachers) 

Prompted by a desire to furnish assistance—vitalizing assistance— 
to every teacher who undertakes the task of instructing in writing, 
the author here adds this paragraph. While dealing with the sub¬ 
ject quite frankly, the writer feels that a common bond of purpose 
makes any explanation unnecessary. 

The one vital point which the author desires to discuss speci¬ 
fically with his fellow-teachers is that of carelessness—which leads 
through many avenues to the undoing of those who practice it. 
Careless habits are invariably the result of thoughtlessness. We 
should therefore keep the cause primarily in mind. In a rather ex¬ 
tended experience the writer has been strongly impressed with an all- 
too-common habit of carelessness on the part of teachers—thought¬ 
lessness, of course. It would almost seem to pass belief. He has had 
teachers say to him, in scores and scores of cases, “0, don’t look 
at that writing, it was done carelessly.” And this, mind you, right 
before the class. And there is the writing on the board where every 
pupil can observe it. The teacher convicts herself, in her own con¬ 
fession. Think of the double tragedy of the thing; the pupils view 
the writing, and then they hear the teacher confess. Y r ou say it 
seems exaggerated—unreasonable. Yes, it does—it takes “seeing to 
believe”—but seeing many times is convincing. Do such teachers 
allow their pupils to offer any such excuses for work of which they 
are ashamed? Think of the influence on the lives of the pupils, their 
habits, character, and general outlook for life. Is such a teacher 
getting the most out of her work, in joy, in remuneration? Of course, 
she is not. What has been said will stimulate thought on this sub¬ 
ject; and one who THINKS will find that the conscience is energized 
to offer resistance to habits that would compromise or embarrass. 


7 


THE FIVE (WRITING) SENSES 

As you write, do you see, 

Ink is made thy slave to be? 

And seeing this, can you hear, 

The voice of duty calling clear? 

Seeing, Hearing, can you feel, 

A sense of touch in every wield? 

As you sense the “writes” of taste, 

Do you behold its power and grace? 

Sense-ed with this “flowery smell,” 

Can you resist the “Writing dell?” 

WRITING ETIQUETTE 

Webster defines eitquette as “The forms required by good breed¬ 
ing, or prescribed by authority, to be observed in social or offieial 
life.” 

A man may pursue the course of his daily life with an un¬ 
shaven face, clad in soiled linen, wrinkled clothes, eat with his knife, 
“hog” the end seat and retain same while women swing to the 
straps, employ incorrect speech, and continue to exist, but who is 
the loser? A woman may violate the conventionalities of good breed¬ 
ing and refined taste and still be a woman, but she fails to grasp the 
privilege of her opportunity. A public servant, man or woman, may 
perform the duties of his office so as to “get by” with it, or he 
may neglect to observe the little courtesies so favorably received by 
the public and yet continue to “hold his job;” but he will not 
render the best service of which he is capable, and the jury of public 
opinion pronounces the verdict that he is unworthy of larger re¬ 
sponsibility, and that he must serve his sentence. The jury which 
convicts for the violation of the amenities of good breeding pronounces 
a like sentence on the victim of poor handwriting. Acts performed 
in disregard of the rights of others constitutes, in certain eases, a 
violation of law, and in others a violation of our opportunity. Oppor¬ 
tunity introduces privilege and privilege is synonymous with obliga¬ 
tion. We are all serving sentences, it may be unconsciously, for the 
violation of our obligation to others. However, there is encourage¬ 
ment in the fact that a sentence is usually repealed when there is 
sufficient evidence of reform. 

Fortunately or unfortunately, the art of writing is so constantly 
and universally employed that it is impossible to disguise the graces 
or imperfections of its character. All things being equal, the person 
who writes a good hand has a decided advantage over the one who 


8 


‘ ‘ scrawls. ’ ’ Good handwriting, combined with correct spelling, 
punctuation and arrangement, is suggestive of refinement in taste 
and a trained mind, while poor writing suggests slovenliness, lack of 
training, and, in an exaggerated form, illiteracy. Is your writing an 
asset or a liability? 

The public conscience and sensibilities appear to have been dulled 
to the subject of writing etiquette. To fix responsibility for this 
condition involves speculation. One fact, however, seems pretty 
generally conceded. Writing has not received anything like the same 
amount of consideration, at the hands of school authorities, that has 
been accorded the other basal subjects of the “three R” group. 
This unexplained lethargy seems to have been well-nigh universal. 
The fact is the more puzzling when it is remembered that the sub¬ 
ject constitutes a most exacting measure of the teacher’s efficiency. 

WHEN YOU WRITE 

(1) 

WHEN YOU WRITE, what do you THINK 
What vision have you for your ink? 

What beauty, form and grace are here, 

To speed your business or your cheer? 

( 2 ) 

WHEN YOU WRITE, do you discern, 

The grace of line for which all yearn? 

What picture would you here portray, 

To grace your letter, on its way? 

(3) 

WHEN YOU WRITE, do you divine, 

Your likeness is thus writ in line? 

How will your friend impress-ed be, 

With this picture, “inked” of thee? 

(4) 

WHEN YOU WRITE, you should disdain, 

To give another needless pain; 

But rather by your pains and art, 

“Anoint the eyes” and cheer the heart? 

(5) 

WHEN YOU WRITE, what do you hope, 

To “glide” along on aimless dope, 

And thus in this “Despond of Slough,” 

Take refuge in “I don’t know how?” 


9 


( 6 ) 

WHEN YOU WRITE, invoke your will, 
To climb with courage, up the hill, 

To learn a lesson from the ant, 

And in this purpose banish “can’t.” 

( 7 ) 

WHEN YOU WRITE, you should employ, 
The forms of culture, grace and joy; 

To Locker Writing—make your bow, 

On this one fact, “I DO KNOW HOW.” 


NOTE.—This little poem, executed in beautiful writing, suitable for ready 
reference, display or framing, may be ordered from the author. It i* suggested 
that every teacher and every pupil should possess a copy of these verses. 
They convey a two-fold message of inspiration—first, in sentiment and, second, 
in form—especially suited as a model copy for practice. 

Price—Single copy, 25 cents; or in quantities of fifty or more, 20 cents each; 
one hundred or more, 15 cents each. 


EXPRESSION 

With the first efforts of the child to express thought-images or 
ideas he employs objects that appeal to two of the senses, sight and 
touch, such as toys, mud pies, and so forth. In like manner, affec¬ 
tion for the mother is expressed in caresses. With the development 
of the child, he goes from the pronouncedly tangible evidences, above 
mentioned, to operations involving some imagination, such as cutting 
paper dolls, “reading” pictures, and expresses affection by verbal 
assurances, as well as caresses. The next step is recorded in draw¬ 
ing crudely the objects first handled as toys, advancing to original 
products of the imagination. The advancement in the mode of ex¬ 
pression seems natural with the progressive development of the child. 
Later, when the child is separated from his mother or playmates, 
there develops a very pronounced desire to communicate the feelings 
of affection, and so forth, that cannot be conveyed in caresses and 
the employment of the vocal organs. And so he must “write.” At 
first the writing is nothing more than marks, lines, etc., but the 
child ean tell you “what it says.” Up to this point of development, 
both the desire to express or record and the vehicle of conveyance 
seem natural. However, when the child learns that the marks or 
lines he has heretofore employed do not “say” anything, he begins 
to ask, “Is this right?” He will insist on being shown how to write. 
From this point on the child must be taught. With the pronounced 
desire for expression, a strong point of appeal is established to aid 
in acquiring the art of expression. However, it must be acquired, 
just as all good things wait on desire and perseverance. It is doubt¬ 
ful if one person in a hundred will adopt the conventional forms and 
methods employed in good writing and learn to demonstrate the art 


10 


without assistance. But there is nothing strange or unusual about 
this writing business. One does not make shoes, automobiles nor 
buttermilk without training. Neither do men deliver speeches, ser¬ 
mons and verdicts without preparation. You do not use correct 
English nor figure your “profit and loss’’ without continued watch¬ 
fulness. Why should it be thought that writing, the universal art, 
can be executed skillfully without effort or previous training? It 
should be understood that writing, to become an abetting asset for 
all endeavor, must be acquired through intelligent perseverance. 

Writing practice is not employed, 

Because the act itself’s enjoyed, 

But rather that you may acquire, 

For all endeavor, 

An art that’s clever, 

AN ASSET—for all good desire. 

DISCIPLINE 

The avenue that leads to good handwriting is not paved with 
good intentions nor hedged with attractive shrubbery, inviting pro¬ 
crastination and repose. “Straight is the gate, and narrow is the 
way,” that leads to good handwriting. It calls for discipline, which, 
according to Webster is, “Training to act in accordance with estab¬ 
lished rules, systematic and regular action—drill.” Any one who is 
willing to pay the price in thought and perseverance which is exacted 
for this accomplishment may have it and reap the benefits that go 
with it. One who is unwilling to do this does not deserve it and 
cannot secure it at any price. In “The eternal fitness of things,” 
we get what we deserve. This knowledge and conviction afford in¬ 
spiration for the teacher and constitute the most substantial reward. 
While discipline is emphasized here as a prerequisite to a mastery 
of the subject of writing, it is with the very positive conviction that 
it offers the shortest, most direct and enjoyable road to the desired 
end. The seven RULES, printed in the Locker Writing books, tell 
you what you “shall” and what you “shall not” do. These are very 
simple, but you must discipline yourself to comprehend and demon¬ 
strate their simplicity. The following Locker Axioms you should 
digest and utilize at all times: 

(1) Unless you follow the RULES, you are wasting time and 

energy. 

(2) Good writing is a compound of purpose, vision, thought, 

and ink. (The “Big four,” but the greatest of these 
is purpose). 

(3) Physical action, moderate or intensive, does not necessarily 

mean work. 


11 


(4) Motivate your movement. Otherwise it will be only move¬ 

ment. (Water is water until made into ice, steel is steel 
until made into watch springs, movement is movement 
until shaped into writing). 

(5) You can do what you think, if you think what you do. 

(6) Correct practice always means progress. (If your progress 

is not satisfactory, something is wrong—find it—“it is 
not far to seek).” 

(7) Form the HABIT by habitually doing. 

Writing practice has for design, 

Control of hand, the eye, the mind; 

If therefore you would skillful be, 

You ought to ken, 

That DISCIPLINE, 

Must shape the THINK, the FEEL, the SEE. 

Writing lends itself to individual and class discipline as no other 
subject can do. The author has witnessed “failure” teachers make 
good, and likewise weak classes grow strong, with the proper applica¬ 
tion of its corrective and co-operative principles. 

Do you ever discouraged grow, 

That looked for progress seems so slow? 

Ah! ’tis then, 

You should ken, 

This “Guide” in hand, the way will show. 

CO-OPERATIVE 

All writing is executed in order to accommodate the desire or 
necessity to communicate or record. It is not done merely for the 
sake of writing, just as one does not travel on a train or street car 
for the experience of riding, but to reach a desired destina¬ 
tion. A man communicates with members of his family or business 
connections for obvious reasons. In the same way, he finds it desir¬ 
able to record the terms of contracts, and the figures which will keep 
him informed as to the status of his business. With a “little stretch 
of the imagination,” writing might be considered as unselfish—it 
lends its good offices to other purposes, is co-operative. While this 
is fundamentally true of the subject as such, it is, however, more 
particularly true of its nature in application, provided, of course, the 
writing is good, and is executed in the right way. If the analysis be 
continued, it will disclose the innumerable ways in which this applies. 
Since the ways are innumerable, it is obviously impracticable to cite 
here the details of its specific application. However, the general prin- 


12 


ciples upon which this fact is established are accepted without ques¬ 
tion. 

(1) ECONOMICALLY CO-OPERATIVE. 

(a) Ease in execution CONSERVES ENERGY. 

(b) Speed in execution SAVES TIME. 

(c) Pleasing form stimulates SELF-RESPECT—EN¬ 

COURAGEMENT. 

(2) CO-OPERATIVE IN EFFICIENCY. 

(a) Energy conserved, time saved—for OTHER TASKS. 

(b) Superior product constitutes decided ASSET. 

(c) Writing of character, vestibule to OPPORTUNITY. 

(3) CO-OPERATIVE GENERALLY. 

(a) Disciplines thought. 

(b) Disciplines vision—discrimination. 

(c) Disciplines the physique. 

Under this last head, it might be said that there is no limit to 
the general influence of the mastery of writing. It “ carries over” 
into other mental and physical operations. The parent sends the 
awkward child to dancing school that “she may learn to walk more 
gracefully.” In the same way, the mastery of writing is conducive 
to clear analysis in thinking, accurate perception, just as truly as 
it endows one with dexterity in the performance of any manipulative 
operation. As the faculties are developed through the exacting pro¬ 
cesses required in good writing, it will be apparent that writing has 
an educational value, comparable to mathematics, - science, or any 
other subject. In converse order, the development of the faculties 
of thought, visualization or dexterity along the line of any human 
endeavor will carry over, and lend its “co-operative” influence in 
the mastery of writing. 

Writing skill will its impress make, 

On every task you undertake; 

Can you afford to careless be, 

When your “touch” 

Means so much, 

To every friend, as well as thee? 


13 


CLASS INSTRUCTION 

The term “Class Instruction” applies to group instruction—the 
class as a whole. The suggestions offered here will therefore be 
pertinent to the teaching of writing in the public schools, where the 
system of grading is designed to assemble pupils into classes or 
groups, on the basis of related ability. At the very outset, the 
author desires to emphasize the fact that all teaching and practice, 
in formal writing, should include the class as a whole, or related 
groups, according to the plan of grading. Every pupil should “ right¬ 
about-face” to the command of the drillmaster. The teaching of 
writing finds its fundamental base in concerted action. When prop¬ 
erly conducted, the writing will afford the same inspiration and en¬ 
thusiasm that accompanies dancing to music and the marehing of 
soldiers. The problem of class instruction, as such, is exactly the 
same in all grades. The difference between the requirements for the 
first and seventh grade pupils will be found in the different standards 
set up for these grades. The pupils of the first grade run through 
with their “simple scale” in the same concert order that the pupils 
of the seventh grade perform in a “grand opera,” the t imin g and 
difficulty being suited to the development of the respective . groups 
of pupils. 

In this type of class instruction, the teacher will seldom have 
occasion to leave the front of the room. She will be needed there 
to give blackboard illustrations and to watch the discipline—dis¬ 
cipline secured in perfect concert work. If a pupil goes “awry,” 
she should make the necessary correction from the front of the room. 
The teacher will lose, in many ways, by going down the aisle to reseue 
a “stray sheep.” When a child is corrected through his head—his 
understanding, the correction will be permanent; but if the teaeher 
goes to him and “pulls” him into position, he will most likely lose 
it by the time the teacher regains her place before the elass, and, 
in the meantime, the whole class will probably have gone awry. 
Teach writing through the understanding. Every problem responds 
more readily to “thinking” treatment than it does to force (pull) 
treatment. If the teacher succeeds in teaching writing and think¬ 
ing at the same time, she is doing vastly more than teaching writing. 
If she is not doing this, she is “missing the mark.” 

In teaching, to these three words cling, 

SIMPLE—DEFINITE—APPEALING— 

Define each step and every line 
Contrive it clear, 

That all may hear, 

And guide the practice through the mind. 

In the teaching of writing, there are many other points of vital 
importance to be considered. These various points, it is thought, will 


14 


afford the most effective guidance for the teacher if arranged ac¬ 
cording to a plan of comprehensive development. Therefore what 
seems pertinent is given here as amplification of the RULES, in 
the Locker Books (inside, front cover). The teacher will doubtless 
prefer to have the rules before her for ready reference, and so they 
are reproduced, with the AMPLIFICATION OF RULES following. 
The RULES and their amplification are printed separately, for the 
very good reason, that the Rules are to be learned and followed 
strictly, at all times, and it would therefore seem desirable to keep 
them in their abbreviated form. On the other hand, the amplification 
of these rules need not be constantly before the teacher's eye, but 
afford a ready supplemental reference to the rules. In order to 
facilitate ready identification of any rule with its amplification, the 
outline set up in the RULES is followed in the AMPLIFICATION 
OF THE RULES. The amplification will take up where the rule 
ends. When any point is being investigated, read the rule, and 
then turn to the amplification and continue the study. (The RULES 
—in verse—follow the rules, and the amplification follows these). 


RULES 

1. PREPARATION. In all writing, see that the desk, including 
the seat, is cleared of everything except the proper writing 
materials. 

2. POSITION. Maintain correct position of 

(a) BODY—erect, half-turned to left, not touching desk front 

nor back. 

(b) ARMS—both on desk—all of right forearm, two-thirds of 

left. 

(c) HANDS—right hold pen, left hold paper at top—adjust it. 

(d) FEET—resting naturally, flat on the floor. 

(e) BOOR—lower left corner about edge of desk and to cen¬ 

ter of body. 

(f) PEN—points just off of right shoulder—held by thumb 

and first two fingers—all curved—end of thumb a little 
back of end of first finger. 

3. MOVEMENT. With the arm resting on the thick part, just 
below the elbow, and the hand supported and slipping on the 
nails of the last two fingers, develop a push-pull movement to 
and from the center of the body—the line of vision. With the 
book properly placed, this direction will automatically estab¬ 
lish correct slant. (Count for the movement.) 

4. PRACTICE. In practice, observe the following definite plan 
of constructive development: TRACE, PRACTICE, RECORD. 

(a) TRACE for visualization and sense training. 

(b) PRACTICE on detached sheet, placed immediately below 

the copy on the book. If the tracing is properly ex¬ 
ecuted, the result will be satisfactory. Study points of 
similarity and dissimilarity between the original and the 
practice copy (close together) and apply the appropriate 
remedy for further improvement. 


15 


(c) RECORD. After such improvement as can be made by 
tracing and practice, remove the practice sheet and re¬ 
produce the copy on the blank line of the book. The 
three steps should be taken in every writing lesson. Do 
not trace one day and practice another, nor practice one 
day and record the next. Let the pupils understand that 
every lesson is to be purposeful—the record is made on 
the book at the close of the exercise. 

5. APPLICATION. As far as it is possible to do so, correlate 
the writing with the written spelling, language, and the social 
and business forms required in the grade. 

6. REMEMBER, you will write poorly, fairly well or beautifully, 
just to the extent that you follow the instructions in your 
practice. 

7. DON’T practice without the proper writing materials—the best 

available. 

DON’T practice until you are sure that you are observing 
RULES 1, 2 and 3. 

DON’T practice unless you have a purpose—have something 
definite as your aim. 


THE RULES (In Verse) 

1—Preparation 

Clear off the seat, the desk, the mind, 
Of useless rubbish—every kind; 

And sense the task, in bridled will; 
The cause will prosper to “Be still.” 

2—Position 

Body erect, the feet placed flat, 

The little “arrow” points you at; 

Left hold paper and right guide pen; 
THINK you, about the next step then. 

3— Movement 

The movement is no slight, nor trick, 

But resting on the forearm—thick, 

While the hand, in direction trails, 

To and from you, upon the nails. 

4— Practice 

In practice then, you should discern, 
The start, the end, and every turn. 
Adjust your THINK, revise your SEE, 
Decide what likeness is to be. 


16 


5— Application 

Practice, you know, is to the end, 

That you may all your writing- mend; 

In Spelling, English, all the time, 

Let thought and act in purpose rhyme. 

6— Remember 

You’ll do it not—or do it well, 

As you observe this warning knell, 

“By Direction,” that’s sounding clear, 

And for your guidance written here. 

7—Don’t 

Don’t write without the best of tools, 

And build your structure by these EXILES. 

Architect of aspiration, 

Follow “Plan and Specification.” 

AMPLIFICATION OF RULES 
(See RULES) 

L PREPARATION. The reason for this rule will be obvious to 
the teacher. If the pupils are allowed to cumber their desks and 
seats with books, rulers, pencils, lunch boxes, and garments of 
wearing apparel, it will be impossible for them to take the proper, 
uniform position for writing. Success or failure will, in nine 
cases out of ten, be traced to the presence or absence, as the case 
may be, of the teacher’s grasp of the situation at this critical 
point. In its final analysis, it is discipline or the lack of dis¬ 
cipline, and if the teacher does not demonstrate her mastery of 
the situation she pronounces her own sentence, according to the 
exaggeration of the offense. Writing lends itself as a test of 
discipline, and thr/ teacher can do more, with the proper handling 
of the subject, t i establish class and individual discipline, than 
with all the other subjects combined. It will serve at all times 
as a “key” to the situation. DISCIPLINE, however, IS NOT TO 
BE ASSUMED, BUT DEMONSTRATED. The teacher occupies 
a position comparable to a bandmaster; she must detect any in¬ 
harmony naturally and immediately. If she does not, she would 
be like a bandmaster that did not sense the difference between 
music and noise—a poor director. The teacher is at liberty to 
devise her own signals for the initial operation and for the 
subsequent steps, but she should see that they are understood 
in demonstration—quick response, without hurry or confusion. 
Did you ever have a train or boat, on which you had engaged 


17 


passage, “pull out” as you reached the platform? The teacher 
who fails to get understanding-response from every pupil in the 
class has “let the boat leave her.” She is also responsible for 
the dilema of the pupils, who have likewise “been left.” The 
burden of responsibility rests upon the teacher. A poor start 
begets demoralization and discouragement, and, “0! these chil¬ 
dren nearly run me crazy. ’ ’ Of course! 

When you start, be sure you’re right, 

And in this consciousness of might, 

Proceed by measured steps—and look, 

For guidance, in this little book. 

2. POSITION. In view of the rather detailed treatment accorded 
this point in the rule proper, further development seems un¬ 
necessary, except to suggest a simple procedure for the demon¬ 
stration of position. There are other ways that are good, but do 
not discard the plan given here unless you are sure your way is 
equally as practical and effective. The plan is set up briefly, as 
follows: 

(1) (Understand, the PREPARATION must be complete). Have 

the pupils sit as they would for any lesson, in middle of 
seat, hands in lap. 

(2) All together, raise both hands above the head, all shake 

hands, bending at the wrist, to and from the front of the 
room, for a second or two. 

(3) Hands still up, lean forward from the hips, until half way 

between the desk, back and front. 

(4) Adjust the feet—naturally flat on the floor. 

(5) Drop the arms so that the elbows rest on either corner of 

the desk, with the hands and forearms standing in an 
upright position. 

(6) Allow the left arm, hand extended straight, to drop on the 

desk, so that the elbow forms approximately a right angle, 
and the finger tips just to the pencil groove. 

(7) Allow the right arm and hand to drop, in the same manner, 

with the fingers pointing directly to the thumb on the 
left hand. 

This procedure will give perfect position. It can be learned by 
any class in less than five minutes and can be reviewed at the begin¬ 
ning of every lesson in thirty seconds—practically no time. This has 
been demonstrated in thousands of cases. Let me again caution the 
teacher, if you do not get response from every pupil, understanding 
response, go back to the beginning and try it over again. Don’t let 
the “boat leave you.” It is so easy, it seems almost useless to detail 


18 


the operation. The pupils will enjoy this concert work if the teacher 

guides properly, with a little snap. 

WARNING, do not move from one step to another until you 
have gotten understanding response from every pupil. 

3. MOVEMENT. Just as dancing or marching is made more 
natural and easier with a musical accompaniment, so writing 
movement can be regulated—the slow will be speeded and the 
speedy will be slowed—to conform to ‘ ( standard time,’ ’ and all 
will feel the inspiration of concert performance. Indeed, with 
everything properly adjusted, and the teacher “playing’’ a lively, 
harmonious accompaniment, the right movement seems to be ac¬ 
quired quite naturally. Be sure the movement is the proper one. 
If it is not, the effort will be distressing. Just as you would 
experience difficulties when riding in a conveyance with one or 
more wheels removed- (See 1 and THE ACCOMPANIMENT). 

4. PRACTICE, (a) TRACE. Unless the tracing be “accurately’’ 
executed, it will, of course, do no good. In baseball, it is not the 
player who can throw the ball the hardest who finds a berth with 
Big League performers, but the man who can place his balls and 
control his curves. He learns to do this by doing it—it is not 
theory. Neither will one learn to write from an application of 
the movement per se. The movement must be motivated. The 
process of tracing will, when properly executed, accomplish a dou¬ 
ble purpose. First, it clarifies and refines the mental picture, 
and, second, it actually goes through with the physical performance 
required by the operation. The teacher can readily illustrate 
this principle at the blackboard. Write some letter or word 
boldly and where the pupils can all see it. Explain what tracing 
is designed to accomplish, and show what is meant by accurate 
tracing—starting at the extreme point of the beginning stroke, 
follow the line (don’t get off the track) and finish the operation 
Avith the extremity of the line, meanwhile observing the proper 
speed, suited to a lively accompaniment. (It is permissible to re¬ 
duce the speed at first—until the performance is clearly under¬ 
stood) . 

(b) PRACTICE. Practice is designed for the development of 
the skill required in the execution of good form. If the tracing 
has been performed properly, a good start has been made. The 
next step, the reproduction, will disclose how accurately the pupils 
have sensed the performance. The teacher should here direct at¬ 
tention (class as a whole) to the common mistakes, such as, 
wrong beginning and ending strokes, size, slant, spacing, etc. In¬ 
stead of saying, “Now, examine your work and see if it is like 
the copy,” direct attention to specific errors which will be com¬ 
mon to all. Take care to direct attention to one thing at a time, 


19 


practice for its correction, and then move on to other corrections. 
Make the instructions SIMPLE, SPECIFIC, POSITIVE. (See 
1 and CRITICISM). 

(e) RECORD. Motivate the practice by emphasis on the record, 
at the end of every lesson. Appeal to the pride of the pupils. 
Keep the books neat and clean, show no careless work. Let it be 
a record of purposeful practice and progressive improvement. 




5. APPLICATION. Do not prematurely urge pupils to use muscular 
movement in all their writing. However, you should be sure that 
you do not neglect this important matter, nor defer it beyond 
the proper time. It is not practicable to set up any definite rules 
for guidance here. It should be understood that when pupils can 
demonstrate the right movement with fair control, they are then 
ready to apply it in all written work. The transition will be 
easier at this point than it will later on in their development. 
Pupils should be impressed with the fact that writing is practiced 
to be used—as a habit. Webster’s definition of habit is, in part, 
as follows: “A concrete custom or practice, acquired by frequent 
repetition and showing itself in increasing facility of per¬ 
formance.” Facility of performance waits on purposeful habit. 
The teacher is here reminded that any amount of effective teach¬ 
ing—during the formal writing period—may be wasted unless she 







20 


exerts her efforts all of the time in the direction of habit forma¬ 
tion. Tactful encouragement and the proper motivation of the 
work in writing will relieve the teacher of the necssity of “watch¬ 
ing” the pupils all the time. Lead the way. Have the pupils 
want to do it right. This can he done in every case—and then 
the teacher’s work will have been largely accomplished. Never 
accept work that does not represent the best effort, and offer a 
reward of additional points on the grades in other subjects, spell¬ 
ing, language, etc., for successful application of muscular move¬ 
ment in writing. 

Writing is practiced—to be applied, 

The lie of “can’t” must be denied: 

Foursquare the purpose by “Mr. Can,” 

Revise the creed, 

If there be need 

But form the HABIT—and be a man. 

6. and 7. (Need no amplification). 

THE ACCOMPANIMENT 

The accompaniment for writing practice is supplied by counting, 
or tapping, or conversational directions—delivered in correct time. 
The main points to be watched are, first, that the time be regular; 
second, that it shall indicate the right speed; and, third, that it be 
harmonious—appealing—music, not noise. Can you keep your foot 
still “as the boys go marching by, to the tune of Dixie,” or when 
within the sound of good dance music? You might, but it would not 
be natural to do so. On the same principle, the accompaniment for 
writing practice may be made so appealing that it will occasion more 
distress not to respond than it would effort to do so. This is a 
subject that could be dealt with more happily in demonstration than 
it is possible to do in explanation—just as it would be difficult to give 
a music lesson by correspondence. However, this may be said, the 
instrument (count) is pointed out, and the thing to do is to begin 
practice on it, and continue the experiment until you have discovered 
the scales and are able to play a real tune. It will be recognized 
as soon as you strike it—harmony is appealing, inspiring. If you 
have enough music in your soul to keep step, as you walk with a 
friend, you can cultivate a rhythmic, harmonious accompaniment to 
be employed in teaching writing. Any teacher who neglects this 
phase of instruction multiplies several times the difficulties of the 
problem. The language we employ does not afford a vocabulary by 
which the processes nor the inspiration under discussion can be 
clearly outlined. However, the approach to the goal may be briefly 
outlined, as follows: (Presupposing free, easy movement, correctly 
applied). 


21 


(1) Place before you a watch or clock which has a second hand. 

(2) Place Book 1 before you (properly), open at page 2. 

(3) Trace the first exercise, slanting-straight lines—accurately, 

in thirty seconds—a half minute, to the count of seventy- 
five, as given on the page (bottom) counting the down 
strokes—the upward-push forms the connection between 
two downward strokes—do not lift the pen or pencil. 

(4) Practice this exercise until it can be done to a REGULAR 

count (think of the tick of the clock—regular) of 75, in 
30 seconds. 

(5) Next apply the same principle in the practice of the oval 

drill, on same line. 

(6) Practice each page in this book, in order, following the 

directions for the count, as given on the respective pages, 
and supplemented in this book. 

(7) By this time you will have discovered the rhythm. This 

is your key to the situation. Apply the same principles 
in any and all practice. If the rhythm, harmony, inspira¬ 
tion should escape you, go back to the beginning, repeat 
the practice of the 11 scale,” and you will find your cue. 

As advancement is made, it will be discovered that the forms 
in the exercises gradually grow smaller. In proportion as the size 
is reduced the speed will be increased, until with Book 4, the time 
should be on the basis of 100 instead of 75 down strokes in 30 
seconds—but this will be natural. The rhythmic accompaniment will 
be found conducive to lively movement. Remember, however, that 
the movement must be directed—motivated, it is the cloth from which 
the writing garment is made. Millions of yards of silk do not con¬ 
stitute a garment; it must be cut, fitted and sewed. Just so, yards 
and yards of lines do not constitute writing; the lines must be cut 
and fitted to become good writing. Motivate your movement. 

Counting supplies accompaniment, 

To guide the hand on practice bent; 

Regular time—and fairly quick, 

To stimulate, 

And regulate, 

The movement smooth—as a clock tick. 

CRITICISM 

A discussion of criticism might properly be included in Class 
Instruction, but since the author wishes to emphasize the importance 
of this phase of teaching, it is accorded a separate paragraph. The 
discussion might occupy several pages, if developed fully. However, 
the following brief suggestions will serve to guide the teacher at 


22 


this point. In criticizing, commenting on the work of the class, al¬ 
ways be specific—not general. For instance, when an exercise has 
been practiced, and the time for criticism, correction, direction, 
arrives, do not say, “Now compare your work with the model in 
the book and tell me if you have succeeded in getting it like the copy— 
Mary, how about yours?” Mary replies, “Mine is not as good as the 
copy in the book.” The teacher, “Why is it not as good as the 
copy in the book?” Mary, “Because it is not like the copy.” 
Teacher, “Why is it not like the copy?” Mary, “Because it is not 
as good as the copy in the book.” And so the discussion continues 
to revolve in a circle of confusion. The author has witnessed the 
like many times, or it would seem too ridiculous to cite as an illus¬ 
tration. Instead of asking general questions—without any special 
point, try to bring out some feature that will need attention, and 
which though specific will apply to the class generally. For in¬ 
stance, the teacher may say, “With a careful study of this letter, 
word, or exercise, as found in your books, and the illustration which 
I will give you on the blackboard, this letter begins with an upward 
curve, or downward stroke, just so, etc., etc. Now, how many suc¬ 
ceeded in getting that just right, hands up.” It will probably 
develop that not a single pupil has gotten it just right. Be sure that 
all see the point, and ask, “Now, how many will try to improve their 
work if we try that over again,” Every hand will go up. Try it 
over again, and note to your astonishment and delight what can be 
done in the way of criticism for the improvement of the class work, 
when the direction is definitely indicated. Each one will feel en¬ 
thusiasm in his improvement—you know we enjoy success—and so 
the teacher and every pupil in the class will be happy in the work. 
After the beginning stroke has been improved, then take up the 
ending stroke, and, in turn, other points, but confine attention to 
one point at a time. Avoid confusion, discouragement—be explicit. 

To criticize, treat first the start, 

Then to the end—apply like art; 

Proceed by steps, of clear define; 

Success here, waits on eye and mind. 

INDIVIDUAL INSTRUCTION 

In teaching writing, there is comparatively little need for indi¬ 
vidual instruction. With a class of normal pupils, fairly well graded, 
the function of the teacher is to drill them in concert. The duty of 
the teacher is to the class as a whole. If abnormal pupils are as¬ 
signed to the class, the problem will have to be handled in the dis¬ 
cretion of the teacher, but under no circumstances will she be justi¬ 
fied in taking time from the class to make individual corrections that 
might be made through the understanding of the child or handled in 


23 


some other way. Individual pupils who are backward in their writ¬ 
ing will frequently be helped if seated next to a pupil who affords 
a good model to copy. When pupils have advanced to the point 
where they will practice in the right way without specific directions 
for every step, or when a pupil can be entrusted to the conduct of 
the class, the teacher can move around the room and give individual 
help. She should, however, keep a watchful eye on the work of the 
class as a whole. Experience discloses that the mistakes of any 
individual pupil will, in most cases, be common to a number of 
pupils. Therefore if the correction is made through appeal to the 
understanding and through the eye by blackboard illustrations, a 
dozen pupils may be permanently corrected in the same time that 
it would take to effect a temporary correction with one pupil. 
Soldiers are not drilled individually and the members of a band 
are not rehearsed as individuals, but collectively. The same prin¬ 
ciples apply in the teaching of writing. 

BLACKBOARD WRITING 

The blackboard affords the teacher a happy means of illustration 
in demonstrating the principles involved in writing. This is espe¬ 
cially true of letter formation and time. In teaching the blackboard 
should be appreciated and used constantly. The teacher who is weak 
in her blackboard writing and illustrations is only partly equipped 
for her work. However, there is no reason why any conscientious 

teacher should not produce a good model for the pupils at all times. 

There is no “movement” complication. The movement is natural, 
just as you would lace your shoes or open a door. The problem is 

one of form and timing. The acquirement of skill in these two 

points is so simple it seems unnecessary to discuss it for the con¬ 
scientious teacher. 

The work of pupils at the blackboard should always be neat and 
show pains in execution. Writing below the standard should not be 
tolerated. The blackboard affords an easy approach for pupils who 
have trouble with form and time in their desk writing. 

LEFT-HANDEDNESS 

The fact that a child is left-handed presents no cause for alarm 
or discouragement. If a child is pronouncedly left-handed, it is 
doubtful whether he should be influenced to overcome it. In no case 
should he be urged to the point of discouragement with his left- 
handed ability. If the change is made from the use of the left to 
the right hand, it should be at his election. However, if the pupil is 
practically ambidextrous, but has from habit written with his left 
hand, the change should be made to the use of the right hand. 


24 


Obviously, the teacher will have to determine from first-hand knowl¬ 
edge how seriously the pupil is left-handed, and be governed accord¬ 
ingly. In no case, however, should a pupil be coerced in this matter. 
It is the duty and privilege of the teacher to help the pupil through 
this changing process. It will call for tact on the part of the 
teacher, both in influencing the pupil to desire the change and in 
overcoming discouragement during the process involved. Pupils who 
switch from the left to the right hand in writing should do so in 
the primary grades, when they are first allowed to write at the desk. 
Correct habits should be formed from the first. If, however, this 
matter has been neglected in the lower grades, it does not follow 
that he should not be helped in overcoming his left-handedness when 
attended by the right attitude. The function of the “guardian angel” 
clearly devolves upon the teacher. Unfortunately, some teachers have 
assumed that because a child is left-handed there is nothing she can 
do to train him with the rest of the class. There is absolutely no 
justification for this attitude. The left-handed child can be trained 
to write as well with his left-hand as the right-handed child can 
with his right. The process in the two cases is identical with the 
exception that the position is reversed. The right-handed child has 
his right side turned partially to the front of the desk, while the 
opposite position is required for the left-hander. The right-handed 
child has the lower-left corner of the paper to the center of his 
body, while the right-lower corner is similarly placed for the left- 
handed child. When the respective students have thus adjusted 
their paper and position, the writing hand in each case will swing 
laterally along the ruled lines on the paper. The right-handed child 
moves his pen to and from the center of the body—the line of vision, 
while the left-handed child must move his pen in the direction in¬ 
dicated by his left-forearm—directly in and out of the sleeve. This 
direction establishes the same slant in writing for both the left and 
right-hand performers. The fact that a child writes with his left- 
hand offers no justification for writing below the standard of the 
grade. 

To the left-hander, we would say, 

Be not discouraged with your way: 

’Tis good—if you desire not “right”— 

But THINK you out, 

The left-hand route, 

And persevere, with all thy might. 

THE PRINCIPAL 

In the modern school, the duties of the principal are so numerous 
and diversified, it would seem next to impossible for him to “know 
everything” and “do everything” that might be expected of his 
office. All of which does not, however, mean that he is absolved of 
his duties as a supervisor. “The duty of the principal is, first, last 
and all the time, to supervise instruction.” In view of this pro- 


25 


nouncement by a well recognized educator, the following suggestions 
are made with the hope that they may be of assistance to the prin¬ 
cipal in directing the work of his school in writing. 

FIRST. He should see that the standards set up for each grade 
are maintained. The principal and the supervisor should confer fre¬ 
quently on this point. A mutual exchange of suggestions and hearty 
co-operation will do much to advance the work in writing. 

SECOND. The principal can and should exert a telling influence 
in the proper motivation of the work in this subject. 

THE SUPERVISOR 

The duties of the writing supervisor are, happily, very easy to 
classify and define. 

FIRST. He should be a master of the subject in every detail 
of theory and practice. He should speak as “one having authority.’* 
Authority inspires confidence and gives encouragement. 

SECOND. He should be pleasant—always, regardless of provoca¬ 
tion. What cannot be accomplished with a pleasant, sympathetic, 
firm, dignified bearing! 

THIRD. He should be helpful—full of help, particularly in two 
ways: (a) In standardizing, and (b) in motivating the work of 
teachers and pupils, including blackboard work. He should see that 
the standards set up are attained. Skill in making suggestions on 
motivation will be of great assistance in this matter. The chief asset 
for this delicate task is TACT and ENTHUSIASM, combined with a 
thorough knowledge of the subject. 

It is suggested that the supervisor keep a record of his work 
in supervision. Such a practice will tend strongly to make his 
observations definite and specific, rather than indefinite and general. 
The author holds that the teacher is entitled to know what impres¬ 
sions the supervisor has formed from a visit to her room, and, further, 
that it is wise to reduce the impressions to writing. Indeed, the con¬ 
viction is so pronounced with the author, he has worked out during 
his experience a form which enables the supervisor to make a definite 
record of his impressions at the time of his visit. This is accom¬ 
plished by the use of the accompanying form, which is arranged to 
cover the pertinent points, either of commendation or criticism, by 
a simple check in the appropriate space. With the use of a carbon 
sheet, this form can be made in duplicate, and a copy left with the 
teacher. It enables the teacher and supervisor to get “right down 
to business,” and eliminates the possibility of misunderstanding and 
hearsay—so frequent with general oral observations. 

When writing art you supervise, 

Employ the heart, the mind, the eyes; 

Combine these parts with clever skill, 

In apt suggestion, 

And clear direction, 

Show how the writing field to till. 


26 


SUPERVISION ANALYZED 

This form will aid the superintendent, the principal and the 
supervisor in forming a clear analysis of the situation in any class 
and, at the same time, afford a ready means of record. 

Use right side for commendation and left side for criticism. 

E—G or 1—2 may be used to indicate 1 ‘ excellent ’ ’ and ‘ 1 good, 
an( l Y —P or 3—4, to denote “fair” and “poor.” 


Teacher School 


CRITICISM 

F—P or 3—4 


COMMENDATION 

E—G or 1—2 

1 1 

1 

1 

1 

1 

1 


DATE 

















(TEACHER) 

1. Attitude 









1 

1 

1 

1 

2. Discipline 2. 









i i i 

1 

1 

3. Adherence to RULES 3. 









i i i 

1 

1 

4. Adherence to COURSE 4. 









i i i 

1 

1 

5. Instruction 3. 









i i i 

1 

1 

(a) Technical 









i i i 

1 

1 

(b) Inspiring 









i i i 

1 

1 

(c) Accompaniment 









i i i 

1 

1 

(1) Time fast 








. 

i i i 

1 

1 

(2) Time slow 









i i i i i 

1 

(3) Regular 









i i i i i 

1 

(4) Irregular 








. 

IMII 

1 

(5) Rhythmic 









1 II 1 1 

1 

(6) Noisy 









1 1 1 1 1 

1 

(d) Criticisms 









1 1 1 1 1 

1 

(1) Definite—specific 









1 1 1 1 1 

1 

(2) Indefinite—general 









1 1 1 1 1 

1 

(e) Blackboard illustrations 









1 1 1 1 1 II 

6. Blackboard writing 6. 







i 

1 1 1 1 1 1 1 

7. Motivation 7. 







i 









(CLASS) 

8. Attitude 









1 

1 





9. Seat writing and practice 9. 









1 

1 





(a) Movement 









1 1 1 





(1) Just movement 









1 1 1 





(2) Motivated 









1 1 1 





(3) Fast 









1 1 1 





(4) Slow 









1 1 1 





(5) Concert 









1 1 1 

1 



(6) Stragling 








i 

1 1 1 

1 



(b) Practice 









1 1 1 

1 



(1) Tracing 


i 






1 1 1 

1 



(2) Practice 


i 





i 

1 1 1 

1 



(3) The Record 


i 





i 

1 1 1 

1 



10. Applied writing—in all work 10. 

i i i i 

i 

i 

1 1 1 

1 



11. Blackboard writing 11. 

i i ii 

i i 


Supt.-Supr.-Prin. 


NOTE.—-This form is put up in pads and as a filler for a loose-leaf binder, 
each containing fifty sheets. The pages are perforated, on the margin, which 
makes it convenient to remove the carbon copy to be left with the teacher. 
She should preserve her copy, and when the supervisor again visits her 'room, 
he can call for the sheet, insert it in his book and complete the record of the 
visit, after which it will again be returned to the teacher. In this way, a 
cumulative record^ can be kept for a whole session. 

Price of pad or filler, each 50 cents; binder for filler, cloth $1.00, leather 
$2.00. In ordering, state exactly what is desired. 












































































































































































27 


MOTIVATION 

Motivation will find its emphasis almost entirely in the tact and 
originality of the teacher. The work of any class in writing will 
reveal, more or less accurately, to what extent the teacher is con¬ 
scious of this asset. The teacher has here an opportunity to demon¬ 
strate her best skill—originality. This being true, it is impracticable 
to lay down any hard and fast rules for motivation in writing. 
However, the following suggestions will tend to stimulate thought on 
the subject and lead to the devolpment of originality. The proper 
motivation of writing, as well as all other endeavor, is based on 
good appeal. Therefore, the subjects PRIDE, AMBITION, COM¬ 
PETITION, will lead in devious ways to endless development. For 
instance, the PRIDE of the pupil in his school work, pleasing his 
teacher, his principal and parents. AMBITION, in the same way, 
to show improvement—to excel in the endeavor, to accord help to the 
teacher and classmates, by demonstrating a model that needs no cor¬ 
rection from the teacher, and, at the same time, affords the right 
example, encouragement and inspiration to other pupils. Care should 
be exercised to make COMPETITION wholesome. The safest de¬ 
velopment of competition is based on comparison with one’s self— 
previous achievement, and the standard to be attained. It is not 
wholesome for a pupil to be satisfied because he does better work 
than other classmates, nor is it good for a teacher or class to be 
content because the class may excel some other class. Rather let 
the goal be improvement—progress, and the attainment of the stand¬ 
ard set for the grade. With such a purpose the individual pupil and 
the class will, of course, be in competition with other individual pupils 
and other classes, but the thought should be directed to self-improve¬ 
ment, achievement, rather than on “beating” another. This will not 
detract from the pride and ambition incident to such competition. 
While the individual and the class is necessarily competing with the 
“other fellow,” the goal is not set by his achievement, but beyond— 
at a point that one can and ought to reach. The principal and super¬ 
visor can render timely assistance in stimulating the right motive. 

Psychology here, you understand, 

Is good appeal, in action planned. 

It is suggested that the teacher have some definite outline for 
motivation. The following has been found effective: 

FIRST. Develop with the pupils the desire to do their best. 

SECOND. In other subjects, Spelling, English, etc., add from 
one to five points for good writing, and deduct, in like manner, for 
poor writing. 

THIRD. From the beginning, have the pupils strive for the 
awards offered with the Locker System—See AIDS AND AWARDS— 
in this book and the writing books. 


28 


FOUR. Eliminate “CAN’T.” Make a snappy, interesting ap¬ 
peal to the pupils. Ask them if they are willing to try to eliminate 
this noxious little word. If the appeal is convincing, you will get 
ready assent from every pupil in the class. Make a rule that when¬ 
ever any one uses the word, saying, “I can’t make a L like that, or I 
can’t write like that,” etc., deduct a stipulated number of points from 
the writing grade for the month. At first the penalty should be 
mild and gradually increased, until the word is banished completely. 
With this program in operation, it will naturally be applicable to all 
subjects. Think of the influence on the lives of the pupils. It will 
have the effect of giving them ability to think, poise, stimulate con¬ 
fidence, and turn their vision upward. Instead of saying “can’t,” 
have the pupils learn to say something like this, “I have not been 
able to get that just right, but I am still trying-” Adherence to such 
a plan will also lend itself to study in the language lesson—teaches 
a moral. This suggestion is not based on theory, the author has 
tried and proved its efficacy. 

There are numerous other ways in which writing can be moti¬ 
vated, but there is one in particular that should not be overlooked, 
and that is pupil teaching. Inaugurate a plan by which every pupil 
in the room will be given an opportunity to assist the teacher. This 
can be done by allowing pupils, in turn, to conduct parts of the lesson. 
Make the task simple at first, something the pupils can do fairly well, 
say counting for practice. It is a well recognized fact that we like 
what we do well and dislike what we do poorly. Avoid the assign¬ 
ment of unreasonable tasks—and discouragement. Lead the pupils 
on, stey by step, starting with what is easy, and you will be surprised 
at the unfoldment of the pupils. Each one will begin to feel a sense 
of responsibility, to think, and to strive to be worthy of the con¬ 
fidence imposed. As the pupils develop, the little verses in this book 
can be assigned to be memorized and interpreted. The interpretation 
should be two-fold—in explanation and execution. Thus it will be 
seen, the writing and language can be happily related. The effect of 
such a scheme of motivation will be to give life, real zest, to the 
daily program—all will feel the inspiration of progress. 

Think (w)right, see (w)right, and you’ll write (w)right. 

THE NORMAL SCHOOL 

The Writing Course in the normal school is set up to compass a 
two-fold purpose, (1) Skill in execution, and (2) Methods of teach¬ 
ing writing. However, the processes involved are so intimately re¬ 
lated, it will promote the ends of economy and efficiency to have 
them regarded as a single one. Execution should be taught as demon¬ 
strated method, and method should be taught in practical application. 
With the normal school setting, the task of teaching and learning 
should be a very delightful one. The situation presupposes, as 
learners, young ladies endowed with a very definite purpose, they 


29 


wait as disciples to be instructed in the doctrine which they are to 
preach, as they “go” into the school room. 

(1) SKILL IN EXECUTION. The practice indulged for the 
development of skill in the manipulative process, should include the 
seven books of the Locker Method. The easiest approach to the 
mastery of writing is to start at the beginning and advance by pro¬ 
gression to the end. A second good reason for such a plan will be 
found in the fact that these student-teachers will, in comparatively 
few cases, be privileged to elect the grade in which they will teach, 
when the time comes. 

The instructions printed in the practice books, together with the 
contributions in this book, will constitute ample guidance for every 
step. 

(2) METHODS OF TEACHING WRITING. (a) The 
Psychology, Physiology and Hygiene of writing is the most prominent 
characteristic of this Guide as well as the text books. No one, who 
thinks, will question the psychology of these books—it is practical 
psychology, psychology in practice. However, it might be asked, by 
one who had not thought deeply on the subject, Where does the 
physiology and hygiene find articulation? The author’s reply is, 
these are taught psychologically, that is, by the employment of direct 
methods. The “positive” is positively set up, the “negative” is 
negatively treated. For instance, instead of discussing “curved 
spines” and “eye strain” and the “physical development” of the 
child, these features are safeguarded, in the most effective way, by 
the scheme of logical development, as exemplified in “thou shall,” 
without saying anything about “thou shall not.” To illustrate 
further, instead of discussing curved spines, a plan is set up to pro¬ 
duce straight spines (see Rules, their Amplification, Discipline, Class 
Instruction, etc., etc.—positive methods). Instead of theory, on the 
subjects of eye strain and physical development, we have here pro¬ 
vided for the protection of the child, well graded books, one for 
each grade, 1-7, and have hedged these about with a course of study 
to insure their proper use. To go into a little further detail, in one 
point only, in book 1, the “writing” is large and the lines are very 
wide—relieves eye strain, is conducive to freedom of action, and is 
altogether suited to the development of the child physically. In this 
way, each progressive step is guarded “positively.” Thus it will 
be seen that the psychology of the whole is brought out in the 
fact that it is better to teach the right way as a preventative of 
the wrong way than it is to teach or stress what is wrong in order 
that the right way may appear. 

Psychology here, you understand, 

Is not built on “shifting sand,” 

But on the “Rock” of good appeal, 

To give direction, 

Afford protection, 

To make one think and see and feel. 


30 


Physiology also, you understand, 

Is based on power of right command, 

With clear define of what is good; 

Leaving the “not” 

To its native lot, 

And suiting the act, to what one “should.” 

To Hygiene then, accord like kind, 

Conceal the “husks,” shut up the “swine.” 

Turn gaze away from taunting fear; 

Admit the light, 

Assert thy (birth) right, 

’Till healthful thought, in act appear. 

It is suggested that special care should be taken to develop skill 
in blackboard writing and illustrations. (See Blackboard Writing). 

The course in writing should extend through one year, with two 
or three periods per week devoted to the subject. It is suggested that 
one book to be covered each month, leaving some time at the end of 
the session for review. The “writing practice” and the “study and 
application of methods” should go hand in hand, with approxi¬ 
mately the same time devoted to each phase of the work. 


FREE CORRESPONDENCE COURSE 
Self-Teaching 

Any one who desires to improve his handwriting will find that 
it is quite practicable to do so by the use of the Locker Writing 
books, supplemented with this volume. The author has issued hun¬ 
dreds of Teacher’s and Student’s certificates to persons whom he 
has never seen, and from whom he had never had a line until their 
examinations were sent in for the respective certificates. Now, this 
is a very significant fact. It proves that any one can acquire skill 
in writing with the use of the Locker books—and the Locker books 
alone. The way is made easy for any one who will intelligently 
apply the available directions in practice. However, the author 
will gladly correct and criticize practice work that is submitted on 
the original pages of any of the books, with the payment of postage 
(first-class) both ways. Some one will doubtless ask, Why does the 
work have to be on the original pages'? For this very good reason, 
there is a limit to the amount of such work which the author can 
do, and, what is more important, if the practice is recorded on the 
original pages, it is bound to be close to the copy; and when the 
practice is brought in close proximity to the copy, the grosser errors 
will be seen and corrected without waiting to have them pointed out 
by some one else. This point can be tested in other ways than writ- 


31 


ing. Select two persons, at random, and try to determine the simi¬ 
larity and dis-similarity of physique, height, thickness, etc. As long 
as you look at one and then at the other you will continue to “guess." 
But if you will stand the two persons side by side, bringing both 
within the range of vision, speculation is eliminated. You can see 
exactly which is the taller, which is the fatter, which is the thinner, 
etc. The same principle may be applied to any two or more objects. 
When two objects are brought in direct range of the eye—they must 
be close together, to do this—ready and acccurate comparison can be 
made. This pinciple has been carefully guarded in the make-up of 
the Locker Books, and you are, for the reason stated asked to send 
in your practice work on the original pages. (A lot of the practice 
work that you execute with the intention of sending to the author 
for criticism will never reach him, for you will see your own mis¬ 
takes and correct them, and so go on progressively. However, what 
you cannot see the author will be glad to show you). 

SOMETIMES 

Lay down 'the pen and close the eyes, 

Shut out the forms of teasing guise; 

Survey the task! compose the will, 

For thus it profits—to “Be still.” 

Discern the outline you would shape, 

The hand, the pen, can nothing ape, 

But that picture—seen by thee! 

. ’Tis good, sometimes, to still-ed be. 

In order to expedite the handling of papers in connection with 
the correspondence course and to economize in the matters of postage, 
explanation, letter writing, etc., those who take advantage of the 
free correspondence course are requested to follow strictly the plan 
outlined below: 

(1) Write the author a note, saying you desire to take the 
course. Upon receipt of this information, your name will be regis¬ 
tered for the course, but acknowledgment will not be made of your 
communication, unless it deals with other matters which require a 
reply. 

(2) Secure a copy of this book, and in study digest its contents. 

(3) Secure a copy of Book 1 and the proper materials, and 
practice it according to instructions found in the book and this 
volume. 

(4) When Book 1 is completed, mail it to the author for cor¬ 
rection and criticism, sending postage for its return. This work re¬ 
quires first-class postage each way. 

(5) While waiting for the return of Book 1, secure Book 2 and 
proceed in the same manner. 


32 


(6) When you get Book 1 back, study the corrections and 
follow the suggestions indicated. 

(7) Proceed in this order with each book, in turn. See “AIDS 
AND AWARDS,” in this book and the writing books, for the re¬ 
quirements set up for the Teacher’s Certificate. 

Follow directions—in practice, in mailing, in everything, for the 
author will not have time to write letters in order to clear up con¬ 
fusion that will result from a disregard of the printed information 
and this warning. 


“Be sure you’re right, then go ahead,” 
Must have been for this cause said; 

I’m much obliged to him who wrought, 
And pass it on, to jog your thought. 


STANDARDS 





The above paragraph, taken from the Locker Measuring Scale, 
tells the whole story of standards in writing. Therefore all that re¬ 
mains to be done is to offer some suggestions for the use of this Scale. 


LOCKER WRITING SCALE 

This Scale is designed for the measurement and grading of writ¬ 
ing executed with muscular movement. Obviously it is not suited to 
measure other styles of writing, such as vertical, back-hand, and writ¬ 
ing that adheres to no system of letter formation. The author does 
not attempt, by a scheme of grading, to inject merit into writing 
that has none. 

Grading 

Upper Grades. —Compare the sample of writing to be measured 
with the writing scale. If the writing approximates the specimens in 
the upper half of the scale, in general appearance, size, slant, spacing, 
light lines, etc., check the irregularities (as illustrated in the scale), 
and deduct one per cent. (1%) for each such error. If, however, the 
writing does not fairly approximate the general style shown in the 





33 


scale, ADDITIONAL deductions must be made, according to the 
exaggeration of irregularities, as follows: 

5-10% off for exaggerated size—too large or too small. 

5-10% off for irregularities in slant and spacing—must be 
uniform. 

10-20% off for failure to secure light lines, and the proper be¬ 
ginning and ending strokes—THIS IS VERY IM¬ 
PORTANT. 

Lower Grades.—In the lower grades, the irregularities will be 
more numerous, and the writing must be graded more leniently. The 
grade must be determined on the basis of general appearance, and 
applying the suggestions for grading which are printed on the scale. 
Additional deductions should be made for failure to secure the proper 
style of writing, as suggested under upper grades. 

NOTE.—For measurement in the upper grades—high grade writ¬ 
ing, select five lines, as a basis for determining the grade—check the 
errors, and fix the grade accordingly. In the lower grades, any 
number of lines may be used, as the mark will be determined by 
general appearance. 

Study the instructions on the WRITING SCALE. (See 
COURSE OF STUDY). 


ADVANTAGES 

The word “Easy” was incorporated in the title of this system 
of writing because of the simple, logical, progressive development, 
which makes it easy—“By direction.” The features which are cited, 
here as “advantages” are new and unique—unique in the fact that 
they have not heretofore been employed in the way they are here. 
These features are so numerous, and, withal, are so pronounced, it 
seems unnecessary to do more than to group them here in a brief 
outline, for study and consideration, as a whole. 

(1) LOGICAL. 

(a) In thought, vision, appeal. 

(b) In development—leading from the primary to the 

advanced—by natural steps. 

(c) In arrangement, book for each grade, course of 

study, specific instructions. 

(2) UNIQUE. 

(a) In simplicity, first and last pages, arrow “To center 

of body.” 

(b) In directness, specific RULES and instructions. 

(c) In arrangement, exercises distributed on pages— 

writing always in close proximity to model, write 

on one side of paper, well graded. 




34 


(3) MOTIVATING. 

(a) Inspirational. 

(b) Logical, sound. 

(c) Appealing in thought, achievement, awards. 

The set up of this work lends itself especially to study and 
discussion for teachers’ meetings, and is well suited to language work 
in the class room of the upper grades, and in all the grades the 
pupils should learn the simple verses employed here to give “hooks 
to memory,” something the pupils can learn readily, something they 
can interpret (in language) and demonstrate in practice, and which 
establishes a common language, a point of appeal.For instance, the 
pupils can learn the little verses, “ROAD TO WRITING,” which 
run: 

Road to Writing 

Adjust the body—paper—pen, 

And think you of the next step then. 

Then as you trace, you must observe, 

The start, the end, and every curve. 

In practice next, employ the same, 

With exact likeness, as your aim. 

Then, the record, the real test— 

Remember! NOTHING BUT YOUR BEST. 

As the lesson is begun, the teacher can ask the class or an in¬ 
dividual pupil to repeat the first verse and interpret it—it should 
be understood and demonstrated. Other verses may be handled in 
the same manner. Suggestions might he continued indefinitely as to 
the ways in which appropriation can be made of the material here, 
but the teaeher will see the opportunities offered and take advantage 
of them. 

As stated above, the advantages offered in this series of hooks 
are so nuumerous, that it is not practicable to enlarge upon every 
pertinent feature. However, the development of one single head in the 
accompanying outline may suggest the possibilities and advantages 
which will open up in any and every feature when studied in the 
proper setting. As an example, take from the outline above “(2) 
UNIQUE, (a) In simplicity, first and last pages, arrow, To center 
of body.” 

The first and last pages are forms for the pupil to fill in to 
secure a normal specimen of the pupil’s writing at the time the 
respective pages are reached. Now, the advantages here are easily 
seen, primarily in the aid it affords the teacher, the supervisor, the 


35 


principal, the superintendent, or any one who reviews the work. 
One does not have to be an expert in writing to make comparison 
of these pages and decide whether or not the pupil has made progress 
during the practice of the book—between the pages. To be a little 
more specific, in one particular, suppose the superintendent desires to 
know what is being done in writing in any grade, say the 4th. 
All he has to do is to ask the teachers of this grade to let him have 
the first and last pages of book 4, for every pupil in the grade. 
The superintendent can readily see what progress the pupils have 
made, he can make comparisons between the work of different classes 
and teachers, and arrive at conclusions which will be definite, which 
will enable him to offer suggestions and constructive criticism. 

Take next the “ Arrow, to center of body.” Is it understood 
that this little scheme eliminates absolutely even the possibility of 
the pupil’s setting up the wrong relationship of body and paper? 
It does not cure all the errors common to writing practice, but it 
does establish the proper relationship of the body and the paper. 
A boy may stand on his head, if the teacher will allow him to assume 
this position, hut as long as he keeps the arrow to the center of the 
body his hand will swing with the lines across the page. This does 
not argue that standing on the head is a good position for writing, 
not at all, but it does prove that a very troublesome feature of in¬ 
struction in writing has been “ charted” so that there will be no 
excuse for deviation from the appointed way. 



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PART II 


COURSE OP STUDY 


The arrangement in the Locker Writing books, together with 
the further amplification of the subject in this volume, lends itself 
to a very brief Course of Study. Indeed all that seems necessary 
is some suggestion as to the apportionment of the work in the 
several grades. 

The following schedule is based on a term of four month (session 
of eight months), with a book for each grade, 1 to 7, the book to 
correspond to the grade, which by further division gives one page 
each week—there being sixteen pages to be covered in a like number 
of weeks. Therefore what is designed here is to set up the weeks and 
show the page on which any class should be practicing for that week. 
This arrangement will afford teachers, principals, supervisors, and all 
others, a definite check on the work to be covered, which will be of 
invaluable assistance. 


In cases where the term is not four months in length, this 
schedule can be modified to meet the conditions. For instance, if the 
term is four and one-half months, it would then be well to adhere to 
this schedule and use the last two weeks of each term for review. 
Most schools will have this four and one-half months’ term—nine 


months session. If, however, the term is shorter, the schedule can 
be accommodated to the shorter term by covering, say, five pages in 
four weeks. 

The time required for writing is approximately the same in all 
grades, and should be from 65 to 100 minutes per week, divided, pre¬ 
ferably, into five periods of about 15 minutes each, or 3 periods of 
30 minutes each—but better every day, especially in the lower grades. 

The teacher is again cautioned to follow the “light” afforded 
in the books and this volume, strictly at all times. (See Class In¬ 
struction) . 


GRADE AND 
BOOK 

(Correspond) WEEK 


1st MONTH 
12 3 4 


2nd MONTH 
5 6 7 8 


3rd MONTH 
9 10 11 12 


4th MONTH 
13 14 15 16 


1 Page 

2 Page 

3 Page 

4 Page 

5 Page 

6 Page 

7 Page 


12 3 4 

17 18 19 20 
33 34 35 36 
49 50 51 52 
65 66 67 68 
81 82 83 84 
97 98 99 100 


5 6 7 8 

21 22 23 24 
37 38 39 40 
53 54 55 56 
69 70 71 72 
85 86 87 88 
101 102 103 104 


9 10 11 12 
25 26 27 28 
41 42 43 44 
57 58 59 60 
73 74 75 76 
89 90 91 92 
105 106 107 108 


13 14 15 16 
29 30 31 32 
45 46 47 48 
61 62 63 64 
77 78 79 80 
93 94 95 96 
109 110 111 112 


Instructions given in the writing period should be applied in all 
written work. Beginning with the 3rd grade, muscular movement 
should be required in one or more exercises every day, at times other 
than the regular writing period. 


38 


Grades in writing should be based on results secured in all 
written work, as well as the writing period. In the primary grades, 
the writing done in the regular writing period should be given a 
value of 60% and the writing in other subjects 40%. In the upper 
grades, the order is reversed, allowing 40% for the writing of the 
formal period, and 60% for the average writing in other subjects. 

As writing is a basal subject, always include the writing grade 
with other grades in arriving at an average grade for promotion. 
A pupil who cannot write well should be classed with others who 
are weak in arithmetic, language, etc. It will strongly tend to 
motivate the work for the pupils to understand that they must reach 
a given standard of attainment. See LOCKER WRITING SCALE. 

PART III 

SPECIFIC INSTRUCTIONS 

With the brief, but rather complete, general discussion of hand¬ 
writing, in the foregoing pages, there remains but little to say 
further on the subject,—except to suggest a few specific instruc¬ 
tions, for each page in the LOCKER WRITING books, to supple¬ 
ment what has already been said. 

In order to avoid any possible confusion with the use of these 
books, and to lighten, as well as make effective, the work of the 
teacher, critical attention is invited to the following notes: 

NOTE (a) If the teacher has acquired, through a study of the 
preceding pages, a fair knowledge of the general principles which 
obtain in the teaching and demonstration of handwriting, and will 
constantly review and use the advice afforded, her efforts will be 
attended with success. Success in two ways, first, she and the pupils 
will enjoy the work, and second, the pupils will learn to write well— 
they will succeed because they enjoy it, and will enjoy it because the 
task is appealing, when executed in the right way, and brings success. 

NOTE (b) This book is designed to supplement the brief in¬ 
structions found on the pages of the Locker books, and the teacher 
should not neglect to consult the directions given here. The pages 
of the writing books, 1 to 7, are numbered consecutively, from 1 to 
112, and the supplemental directions given in this book are desig¬ 
nated by page, without reference to the particular book in which 
the page will be found. 

NOTE (c) From the very nature of this subject and the basic 
principles upon which the writing structure is built, there is, so to 
speak, comparatively little "variety’’ in the practice, from day to 
day and month to month. Variety will be found in constant progres¬ 
sion—going, from day to day, to new exercises in writing, accomplish¬ 
ing new feats of endeavor, by the application of constant principles, 
as a HABIT. What is true of practice in writing is also true of 


39 


this presentation, page by page. What is said about the teaching 
and practice of any page will be applicable, in a way, to any and all 
pages in these books. Therefore, in the specific instructions, page 
by page, which follow, the author proposes to be brief and to repeat 
as little as possible. In order to do this certain “key” pages will 
be dealt with more fully than others, more or less similar, and refer¬ 
ence will be made to the key pages, for guidance in developing other 
pages that require like treatment. In the nature of things, these 
“key” pages and those that have reference to them are not identical, 
except in a few cases, and the teacher should therefore modify the 
application to meet the specific requirement. 

PAGE 1. This form is designed to secure a normal specimen of 
the pupil’s writing, at the time this book is begun, for comparison 
with page 16, the last page in this book. The advantages are obvious, 
and therefore need no discussion. It will be asked by some, “How 
are pupils in the first grade to fill out this page, before they leam 
to write?” In such cases it will have to be omitted. But it should 
be borne in mind that all who begin practice in this book (this is 
really the best place for all to begin) will not be “beginners” in 
writing. The application here is fitted to all who can write, “but 
do not know how” to do it right. Besides, what is said here is appli¬ 
cable to the first page of each of the (7) books. 

PAGE 2. Practice this page until it can be done right, right 
position, right movement, right time, right results. Use it as a “key” 
page for the start in every lesson. 

PAGE 3. Five for each form. See that all keep time. Make it 
appealing—teach number work—there are four spaces, one oval in 
the first, two in the second, and so on—teach visualization, see how 
the ovals touch the lines above and below, how they touch each other, 
see the clear center of ovals—“doughnuts” with big holes in them. 

PAGE 4. This exercise is the same as page 3, except the slant¬ 
ing lines are added, through the center of the ovals. Watch the slant. 
Do the slanting lines first—then circle the ovals around the ends. 

PAGE 5. If the preceding drills have been fairly well mastered, 
it will here be easy to begin practice in letter formation. Notiee the 
letter is taken apart, each part is developed by progression. For the 
numerical count, a conversational count may be substituted, if de¬ 
sired—say, “over,” for 1, and “over-over,” for 1-2, and so on. See 
that pupils practice in concert time. Retard the speedy and stimu¬ 
late the slow to uniformity. Remember the order—TRACE, PRAC¬ 
TICE, RECORD. 

PAGE 6. Proceed as on previous pages. 

PAGE 7. Have pupils learn that the arrow at the beginning of 
an oval drill means the direction the hand is to follow. 

PAGE 8. Follow principles already learned. 

PAGE 9. Are you following instructions—general and specific? 


40 


PAG-E 10. Are you following instructions for tracing, practice, 
record f 

PAGE 11. Is “everybody” enjoying the practice? Yes, if you 
are following instructions. 

PAGE 12. If you are not satisfied with the results, seek the 
remedy. 

PAGE 13. Are you using this Guide for inspiration, direction, 
purpose ? 

PAGE 14. If you are right you will know it—if doubtful, in¬ 


vestigate. 

PAGE 15. Is this sentence practiced in truth? 

PAGE 16. How does this page compare with the first one. The 
first and last three pages, if well executed, should be sent to the 
author for Button 1. See AIDS AND AWARDS, for requirements. 

PAGE 17. See page 1. 

PAGE 18. See page 2—these are the same except the lines and 
ovals are lighter and closer together—100 instead of 75 to the section. 

PAGE 19. See page 3. 

PAGE 20. Follow previous instructions. 

PAGE 21. Same as page 8. 

PAGE 22. Watch the time, have pupils start and finish with 


your count. 

PAGE 23. Care in tracing makes the form easy. 

PAGE 24. Make this a test sentence; Do pupils use their arms? 
PAGE 25. If you entertain any doubt on any point, seek the 


remedy. 

PAGE 26. The drills at the top of each page are designed to 
develop muscular control and to teach visualization. 

PAGE 27. Proceed as on previous pages. 

PAGE 28. See that pupils write to your count—make the count 
rhythmic. 


PAGE 29. Do you always start right?—if so the rest is easy. 

PAGE 30. Trace the ovals (for only one word at a time), then 
make the ovals; trace the word “and” and then write it in the 
ovals you have made. Proceed in this manner with each word. 

PAGE 31. This page is a good test of ability at this point. 

PAGE 32. How does it compare with page 17. The first and 
last three pages should be sent to the author for Button 2. See 
AIDS AND AWARDS, for requirements. 

PAGE 33. Have pupils fill out this page—as they write nor¬ 
mally,—with pen and ink. We here substitute the pen for the pencil. 

PAGE 34. This exercise looks very easy, and it is—if ap¬ 
proached in the right way. It should be used as a key at the begin¬ 
ning of every lesson,—ability to execute this simple exercise in the 
right way will constitute an easy approach to any exercise in writing. 

PAGE 35. Trace the oval, make the oval; trace the figure, make 
the figure. 


41 


PAGE 36. The exercises here are reduced in size as a prepara¬ 
tion for what follows. 

PAGE 37.- Beginning with this page, the remainder of this book 
is devoted to exercises that alternate—weave-together movement ex¬ 
ercises and actual writing. These drills are designed to teach several 
specific points. (1) The application of the same movement in practice 
exercises and actual writing. (2) Visualization—the ovals must be 
good, clear centers, to allow space for the writing; the writing must 
be spaced evenly, to fit into the oval centers; note where each word 
begins and ends—either inside or outside of the oval, etc., etc. 
(3) Control of the movement, in spacing, in size—if the words are 
written in clear centers, it means that the ovals must be good, and 
that the writing must be likewise—the right size, not touching the 
sides of ovals, etc., etc. Watch the slant. Trace the ovals for one 
word, then write them; trace the word, and then write it. Study the 
effort, select your biggest error and practice to overcome it, then 
others in order, and, .finally, let the record represent your best. Be 
sure to keep the practice paper close to the copy. Make the accom¬ 
panying count rhythmic, appealing—keep the class in concert. 

PAGES 38-48, inclusive. See page 37. Follow general and spe¬ 
cific instructions given in this book. First and last three pages should 
be sent to the author for Button 3. See AIDS AND AWARDS, 
for requirements. 

PAGE 49. Fill out this page before starting practice in the book. 

PAGE 50. This exercise can be mastered in a very short time, 
if practiced in the right way—but it will never be mastered in the 
wrong way. If your progress is not satisfactory, review this book 
to find your trouble—you will find it. This is what is called a move¬ 
ment exercise—it may be produced with mechanical movement. How¬ 
ever, the next page will require something more than movement. 
Then make the movement as nearly perfect, mechanically, as possible. 
When you launch on the next page, you will find that good mechan¬ 
ical action will aid your thinking, seeing, feeling. 

PAGE 51. Mechanical action here must be abetted by clear see¬ 
ing and muscular control. A mastery of this page will give expert 
ability in writing. These exercises are not to be discarded when the 
page has been once practiced, they serve as a key to the whole problem 
of writing. Every movement required for the demonstration of good 
writing is found on this page. These exercises should be used as a 
il starter” at the beginning of every lesson. One time they may be 
traced, another time they may be practiced. It will take less than 
two minutes to review these exercises. Watch the beginning and end¬ 
ing strokes particularly. 

PAGE 52. All of the capitals are here presented in order that 
pupils may know the form for each and every letter. (These letters 
are taken up separately further on—they should be applied in writing 
now, and perfected in later practice). The oval that encloses each 


42 


letter is made in the direction of the letter it circles—the oval gives 
an approach movement for the execution of the letter. Trace the 
oval, then the A; write the oval, then the A—without stopping the 
motion. Proceed with each letter in the same manner. Confine effort 
to one or a few letters at a time—concentrate, thought, visualization 
and practice—see your mistakes and eliminate them. 

PAGE 53. Let effort center here on concert practice, rhythmic 
movement, proper time, correct form, particularly beginning and end¬ 
ing strokes. 

PAGE 54. See 53. 

PAGE 55. See 53. Observe the pauses, indicated by x, acquire 


a light touch. 

PAGE 55-64, inclusive, are devoted to further development of 
muscular control, visualization and familiarity with the proper letter 
forms. In teaching these pages, apply what has been said about 
previous paegs. Send the first and last three pages to the author for 
Button 4. See AIDS AND AWARDS, for requirements. 

PAGE 65. Fill out this form the first thing you do, don’t wait. 

PAGE 66. See page 50. 

PAGE 67. See page 51. 

PAGE 68. See page 53. 

PAGE 69. See page 53. 

PAGE 70. See page 55. 

PAGES 71-80, inclusive. See pages 56-64. Send first and last 
three pages to the author for Button 5. See AIDS AND AWARDS. 

PAGE 81. Fill out this form at once—in your normal writing. 

PAGE 82. See page 51. 

PAGE 83. See page 52. 

PAGES 84-96, inclusive. See pages 56-64. How often do you 
review the instructions in this Guide? How often do you refer to 
it, to clear up some mooted point? Send in the first and last three 
pages to the author for Button 6. See AIDS AND AWARDS, for 
requirements. 


PAGE 97. Fill out this form at once. Occasionally refer to it 
to see how you are improving your writing. 

PAGE 98. See pages 50-51. 

PAGE 99. See page 53. 

PAGE 100. See page 53. 

PAGES 101-112, inclusive. See pages 56-64. With the comple¬ 
tion of this book the pupils should be sufficiently skilled in writing 
for their work to merit the Student’s Certificate. If the teacher 
considers that the work justifies it, send the required pages to the 
author for examination. See AIDS AND AWARDS, for requirements. 


PD 


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